About the Music
1. White Knuckle Ride (Philip Wilby)Philip wrote this piece for me after several discussions on the potential of the trombone as a solo instrument and I was privileged to give its first public performance at the National Brass Band Championships Gala Concert in 1991. The descriptive score conveys all the noise and excitement of a rollercoaster ride and you can hear references to Wagner's Ride of the Valkyries.
2. Here's that Rainy Day (Jimmy van Heusen arr. Bill Geldard)
It's no surprise that this beautiful ballad has been featured by many trombonists in many different ways. This lush arrangement by one of our leading big band bass trombonists is one of my favourites.
3. Four Pieces for Four Trombones (Gareth Wood)
I was privileged to be joined on this recording session by fellow trombonists Mike Fowles, John Barber and Simon Chappel. This original suite for quartet has four brief sections: Tango, Song, Parody and Lament.
4. Consecration (Donald Morrison)
A simple and emotionally appealing impression of two well-loved hymns: 'O take me as I am' and 'Teach me how to love Thee'. I will always remember the profound silence which followed my performance of this piece at a Salvation Army concert in the Royal Festival Hall in 1994.
5. Blue John (Peter Kneale)
This is an original composition for trombone and band and is great fun to play!
6. Whisper a little Prayer (Robert Redhead)
Taken from Robert's musical 'Chains of Gold' this easy listening number is a typical example of the Salvation Army's modern approach to evangelical music making.
7. Scarborough Fair (Tradition arr. Reichenbach)
Simon and Garfunkels famous hit is presented here in a straight choral style by four unaccompanied trombones.
8. Street Scene (Alfred Newman arr. Drover)
All the atmosphere of a typical Hollywood 'B' movie is in this descriptive and moody impression from one of Scotland's best brass arrangers.
9. Elegy for Mippy II (Leonard Bernstein)
An unusual solo written in memory of a pet dog owned by Leonard's brother Bertie. It is unaccompanied and the score instructs the soloist to keep time by tapping his foot!
10. A Nightingale Sang in Berkeley Square (Maschwitz arr. Snell)
A very impressionistic musical picture painted in the style of Maurice Ravel. Howard's colorful band accompaniment brings new dimension to this famous war time song.
11. Morceau Symphonique (Alexander Guilmant)
This classical concert item is divided into two main sections: a slow prelude followed by a quicker, more brilliant passage with a linking cadenza. Even in the quicker section a lyrical element persists and there is a brief return to the theme of the prelude. Finally the music is brought to a fiery conclusion in this band arrangement by Ray Steadman Allen.
12. Bluesleeves (Traditional arr. Rob Willis)
Arranged for John Marcellus and the William Cramer Trombone Choir this quartet presents the familiar Greensleeves as a gorgeous jazz ballad.
13. Londonderry Air (Traditional arr. Snell)
One of the most memorable melodies of all time is enhanced here by Howard's scholarly and unpretentious 10-piece score.
14. Adagio (Guiseppe Tartini arr. Barrie Gott)
Tartini's beautiful melody is backed by the mellow voices from the band in this simple and effective arrangement.
15. Every time we say Goodbye (Cole Porter arr. Fernie)
Scottish trombonist Alan Fernie has made a beautiful arrangement of this Cole Porter classic. The melody is effectively shared between band and soloist in this popular melody.
16. The Eternal Quest (Ray Steadman Allen)
Generally recognised as a magnum opus from this highly respected composer, The Eternal Quest is arguably the most significant work for trombone and band in the Salvation Army repertoire. Deeply spiritual and emotional in concept, the concerto seeks to portray the feelings of a young man who, stumbling blindly down life's treacherous paths, at last comes to a place called Calvary. t is here that he realises that God himself has been seeking him, and his ready response to the loving Searcher ends in a dual quest. This work is much more than a solo with accompaniment. The composer requested that it should be "a sermon in sound".
Nick Hudson